CRUISING (Arrow Video Blu Ray)

CRUISING (Arrow Video Blu Ray) – released August 20,2019 Color. 102 min.
$39.95 U.S. REGION A/1 https://www.youtube.com/watch?v=1aezm39HOBY

Original Theatrical Release February ,1980 Lorimar /U.A. (production cost estimate: $11 million .domestic gross – $19,784,223) Rated R.

 

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Ten years after directing THE BOYS IN THE BAND (National General ,1970), director William Friedkin took on another controversial gay themed subject, CRUISING. In the years since THE BOYS IN THE BAND, Friedkin had established himself as a director of thrilling films, such as THE FRENCH CONNECTION (Fox,1971) and the box office mega-hit THE EXORCIST (WB,1973).

 

At first, when producer Philip D’Antoni (THE FRENCH CONNECTION) broached the idea of a film based upon reporter Gerald Walker’s 1970 novel, CRUISING (Stein & Day, hardback), the director was not interested. D’Antoni then tried to interest an upcoming new director called Stephen Spielberg, but who finally also gave the project a pass.

The novel deals with an undercover cop named John Lynch (renamed Steve Burns in the later movie adaptation). Lynch is asked to go undercover into the leather bar s&m scene of the gay bars in Greenwich Village. We learn that a serial killer who cruises the leather bars has already killed four men. A straight male who is repulsed by the gay lifestyle, he sees the assignment as one that can help him advance in his career quickly, so he accepts.

The Stonewall Riots were less than a year old at the time, and before then, homosexuality had been treated as a perversion, with police regularly rounding up homosexuals . Indeed, it wasn’t until 1980 that the NY Court of Appeals abolished laws against private consenting homosexual conduct between adults (New York v. Onofre). That this was the same year as CRUISING was released probably added to the tension/controversy of the film but more of that later.

Lynch has a relationship with a woman, but while he is undercover, he starts to develop feelings for one of his gay neighbors. Will he be able to solve the murders and prevent further killings, while he deals with his own personal confusion?

As a mystery, CRUISING the novel let’s us know who the killer is early on so it is just a matter of when Lynch will cross the murderer’s path. Also, Lynch seems to be a bit of an Archie Bunker, with a lot of stereotypical comment by our “hero” against Gays (“fags”), Puerto Ricans, blacks, etc. The picture it paints of New York City seems to be the same one that Travis Bickle would cruise in his vehicle years later in TAXI DRIVER (Columbia ,1976).

Indeed, New York had begun a decline that it took several decades to climb slowly back out from. Drugs, murders, homelessness, prostitution, rape, and urban flight caused the city that never sleeps to become what many viewed as Hell On Earth, an image not helped by films like DEATH WISH (Paramount ,1974).

 

The rights next went to agent turned producer Jerry Weintraub (NASHVILLE, Paramount, 1975) who approached Friedkin with the work. This time, the director was more receptive to a cinematic re-imagining of the novel.

In the intervening years, a series of murders of homosexual men had occurred in New York that were chronicled in The Village Voice by reporter Arthur Bell.

Friedkin was acquainted with undercover police detective Randy Jurgenson (who acted as a consultant on THE FRENCH CONNECTION). Jurgenson, a purple heart awarded veteran who had fought in the battle of Pork Chop Hill in 1953, told the director that he had served uncover investigating the gay culture of New York.

Another odd co-incidence was that Paul Bateson, a doctor’s assistant who appears in THE EXORCIST (the hospital exam scene, which many find more frightening than the more supernatural occurrences) was charged in the murder of Variety Reporter Addison Verrill.

Friedkin worked upon the screen adaptation himself in consultation with Jurgenson and Salvatore “Sonny” Grosso (whose exploits with Eddie Egan inspired THE FRENCH CONNECTION, on which they also provided consultation). Both detectives  took small roles in the film . The writer-director, along with several of his team, made several trips to the various notorious hardcore gay clubs ,such as the Mineshaft and the Anvil, both located in the meatpacking district of the city. It was known as that as during the day that is where beef and other meats were delivered, while at night it became an area that most people stayed far away from. The clubs were closed during the height of the AIDS crisis in the Mid- Eighties, and now the district is gentrified and high priced shops, restaurants and hotels.

  The Liberty Inn now occupies the space of the infamous Anvil. 

 

 

Friedkin says all the details was accurate, no matter how far fetched they may have seemed. Friedkin gave camera operator James A. Contner (THE BRINKS JOB) his first chance to be Director of Photography. Contner wanted to shoot the film in black and white but drained the color down in most of the scenes in the clubs while shooting at night nearly accomplished the same effect.

Friedkin also brought on editor Bud S Smith (with whom he worked on SORCERER (Universal/Paramount ,1977 and THE BRINKS JOB (DeLaurentiis /Universal, 1978). An under acknowledged part of filmmaking is casting. Friedkin turned to Louis Di Giaimo who had worked with the director in the past. He presented the director with a short list of actors who he felt would be right for the roles, and Friedkin seemed to agree with the choices of mostly stage trained New York performers for the featured speaking roles. The people who are members of the club scenes are actual people who frequented the clubs, and as Friedkin said, they realized the filmmaker was not being judgmental but merely working almost as a documentarian in those scenes. The sex scenes were to give the MPAA and the filmmakers major headaches when it came to a rating.

The filmmakers had originally wanted Richard Gere for the lead role, probably due to his role in the 1979 Broadway production of BENT, wherein Gere had portrayed a gay man in a concentration camp. Al Pacino expressed interest and finally won the part. This would lead to some problems for the filmmaker, as he felt that Pacino came to set unprepared. It might have been that Pacino wanted to approach each scene like the character, surprised by what he experienced.

Filming was often disrupted by protests. Arthur Bell, whose articles had somewhat shaped the events within the screen play, somehow got a copy of the script and he urged the gay community to protest. To this end , production was disrupted by loud noises, requiring massive ADR work (dubbing). This may have worked to the film’s advantage, as several suspects and characters were dubbed by the same actor, helping to throw off audiences guesses as to who the killer was. Also, the sounds of keys and leather were amplified, both items of importance in this sub section of gay culture.

 

Several times there was need of police protection and escort for the actors to get to and from locations. Luckily, though there were a few arrests, there is no record of any violence or injury to anyone involved.

 

The plot involves several body parts found floating in the Hudson River. Fingerprints from one of the hands found leads them to discover that the killings are of several gay men. The police decide to send an officer deep undercover to see who is killing these men. Officer Steve Burns (Al Pacino) an ambitious officer sees this as a chance for advancement when he is picked for the assignment.

He moves down to the Village, and sets up a false persona, becoming friends with his next door neighbor, Ted (Don Scardino, SQUIRM, AIP ,1976).One of the people that Burns suspects of being a suspect gets brutalized by the police. Burns almost quits, but his captain (Paul Sorvino, THE BRINKS JOB). convinces him to stay and chastises all who harassed the hapless falsely accused man.

What Burns discovers during his investigations starts to play games with his mental well being ,as well as hurting his relationship with his girlfriend ,Nancy (Karen Allen, who would leap to international recognition for her starring role alongside Harrison Ford in RAIDERS OF THE LOST ARK ,Paramount ,1981).to whom he cannot tell what his assignment is or what it entails.

The film drops a lot of suspects and clues, but many find that the ending is a cop-out, leaving many frustrated as to who indeed is the killer. Revisiting the film again ,I now find that the ending is a perfect finish for this unique production

The cast includes a fine selection of character actors, including Joe Spinell (the same year he would also make New York extra creepy as a psychopath killer in MANIAC (Analysis,1980),appearing here as a cop who abuses the transvestites ; Ed O’Neill (tv’s long running MODERN FAMILY, ABC,2009- still running as of this writing) ,here as a detective, James Remar ( Dexter’s father on the long running tv series DEXTER ,Showtime, 2006-2013), portraying Ted’s abuser lover ; and Powers Booth (SIN CITY, Miramax ,2005) as a store owner who explains the significance of certain handkerchiefs and how they are worn in the gay world. Except for Karen Allen, women hardly exist in this society.

The attacks upon the film didn’t end with the end of production, as the MPAA kept slapping the film with an X, a kiss of death at the box office. Friedkin submitted about 40 minutes of graphic sex that he knew the MPAA would want cut, so he cut keep the majority of what he wanted as a compromise. There are subliminal flashes of gay sex during the murder sequences, with the idea of sex and the knife melded into one (two forms of penetration).

 

The critics also for the most part savaged the film, with few exceptions ,so it is surprising that the film, that cost nearly $11 million to make, nearly doubled its cost, making it, if not a hit, at least not a money loser.

It is also interesting that 1980 was also the year that Brian DePalma mixed sex and violence in his DRESSED TO KILL(Filmways/Orion). While there were protests about the combination in this film, audiences were more willing to be titillated by heterosexual love mixed with slashing, becoming an international hit, making about 5 times it’s budget.

By the way , did anyone ever notice that the 1982 Paramount film PARTNERS , written by Frances Verber, who created the original LA CAGE AUX FOLLES (French ,U,A,,1978) seems to be a buddy picture reworking of the plot of CRUISING?  In PARTNERS ,Ryan O’Neal is a straight cop assigned to go undercover to find a killer targeting homosexual men , only here he is paired with an actual gay officer ,played by John Hurt channeling Kenneth Williams.

 

Over the years, opinions have changed upon how the film is viewed, with many feeling it is among Friedkin’s best works.

It was released to VHS and seen widely at video stores, first released in a large box, and then a small box when it was reissued.

 

It became perhaps viewed when it was released to HBO cable, showing at midnight or later.

Finally, in 2007, it was released on DVD by Warner Brothers (who had acquired Lorimar) in a special edition version with extras like
• Commentary by director William Friedkin
• The History of Cruising
• Exorcising Cruising
• Theatrical trailer

and then later a burn on demand without extras from Warner Archives in 2013.

 

Arrow Video has now given us what may be the definitive version of this film.

First off, this is a Director Approved Special Edition with a 4K Scan H9 Def (1080p) Blu-ray of the original camera negative, supervised and approved by William Friedkin .

 

The sound has also been given a newly remastered 5.1. DTS-HD Master Audio track again supervised by Friedkin.

 

Optional English subtitles for the deaf and hard of hearing. This follows the dialog and indicates sounds quite accurately for those wishing to use this captioning.

A new audio commentary with Friedkin and film critic Mark Kermode. Friedkin is very frank about the film, talking about how the opening title card has been removed for this release, since it was only put on as a sop for those who might have been squeamish or offended by the film. Kermode knows the director’s body of work pretty well, and prompts quietly the conversation, often commenting on actions on screen while diverting effortlessly of the behind the scenes problems and joys of the production.

Friedkin mentions that he felt Pacino would arrive seemingly unprepared for the day’s set ups, while talking about how he tried to keep the actors unbalanced and on their toes. It could be that Pacino, method actor that he was, wanted to go into the scenes with the same wide-eyed innocence that his character would feel walking into the strange new world that has such people in it.

Also original to this release is an enclosed booklet with an excellent overview by film historian F.X. Feeney, who talks about seeing the film on it’s opening day.

Reversible Blu Ray cover

Ported over from the 2007 DVD release are

An archival audio commentary by William Friedkin. It is interesting to compare the two commentaries. The original is fact filled but a bit dry, while the newer one as stated the director seems a lot more engaged and relaxed. Both are definitely worth listening to, so kudos for Arrow for making the extra effort.

The History of CRUISING -interviews with several of the people involved in the film such as Friedkin, Grosso, and many others.

Exorcising CRUISING -examines the controversy and aftermath of the film’s release. Many of the same people from the previous featurette appear, as well as actors like actor Richard Cox.

 

Original Theatrical Trailer- the trailer tries to avoid mentioning the homosexual aspects of the film, which makes the film seem more like a generic police procedural (though with lots of leather!).

CRUISING is not a film for everyone. It is a challenging film on a subject that many people will not wish to explore. The film’s ending is not an easy clear cut one, open to debate as to its meaning .

Those reason though also make the film Highly Recommended to those who appreciate films that challenge you and your perceptions .

In an age of superhero franchises, CRUISING is a film that no major studio would even consider creating, making it all the more unique and worth seeking out.

Another Arrow Video must buy release.

For fans of
AL PACINO
WILLIAM FRIEDKIN
POLICE PROCEEDURALS
NY BASED THRILLERS
ORIGINAL,THOUGHT PROVOKING FILMS

-Kevin G Shinnick

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MANIAC -Blue Underground 3 disc Ltd Edition Blu ray

                                                

 

                                                                MANIAC     

                                                     3 Disc Ltd Edition BLU RAY
-Blue Underground December 11,2018.

1980, originally released by Analysis Film Releasing Corp.87 min. Color .

Available as a 3-disc Limited Edition /4 K remaster (2BD plus 1 CD) $39.95 REGION FREE.

http://www.blue-underground.com/product.php?product=291

Back in the early 1980s, horror films were massive money makers. For relatively low costs, filmmakers of various skills could get a camera, an effects person, and maybe some women willing to shed their clothes, and even the feeblest efforts could get a theatrical release.

Then there were films that were done with the same miniscule budgets but with a bit more skill, darker tone perhaps, better actors, direction, and technical skills

MANIAC falls into that latter category. The film was inspired by the infamous Son of Sam. David Berkowitz began his wave of terror that terrorized the city of New York on Christmas Eve ,1975 with what was at first were considered random stabbings.

His first murder (and first use of his weapon of choice, a .44 calibre, thus his being dubbed at first the .44 Calibre Killer) was on July 29,1976. He finally was arrested on August 7,1977 after avoiding the biggest manhunt in NYC history, sending taunting letters to both the police and the press, having killed six people and wounded seven others by July 1977. When apprehended, he confessed but adding he was being ordered to telepathically by his neighbor Sam’s dog Harvey (thus, the ”son” of Sam.). Later ,he admitted he made up the dog story, but the legend continues.

When people found out that publishers were offering huge sums of money for his story, the Son of Sam Law, which was designed to keep criminals from further profiting from their crimes.

This did not stop newspapers, book publishers, television shows ,and even movies from cranking out their own money making attempts to exploit the story , one of the earliest is the nearly unwatchable ANOTHER SON OF SAM (1977, which began in 1975 as a cheapie called HOSTAGES ).

 

Filmmaker William Lustig had grown up enjoying the exploitation smorgasbord offered up in the 1950s,60s and 70s that played in the grindhouses of 42nd Street. After taking some film classes, he found work on both mainstream film (as a P.A. on DEATH WISH,Paramount,1974) before moving into the profitable adult film market, where he worked as editor, producer, and director (and probably a lot of other jobs too) .

 

He saw the money that films like FRIDAY THE 13th (Paramount ,1980) were making ,and thus, taking his share of his latest adult title , he decided to make his own horror movie.

 

He was wise enough to get the wizard who created the effects that had made FRIDAY THE 13TH so memorable, namely Tom Savini . Lustig also cast actor Joe Spinell, who also co-produced ad co wrote the script. Spinell was a hard- working character actor who had worked in supporting roles in major films but this would be his first starring role. Finally, they hired actress Caroline Munro (after their first choice had dropped out), who had starred in several horror and fantasy films throughout the 1970s, as well as being featured in major films like THE SPY WHO LOVED ME ,U.A.,1977).

 

The film is a gritty time capsule of New York City. Tourists were afraid to come to the city, never mind walk the streets at night. Hookers, pimps and drug dealers stood aside sleazy motels and grind house movie theatres, trying to lure in the unwary to sample their wares – or simply rob them.

 

Cinematographer Robert Lindsay, who had worked with Lustig on his previous adult movies, perfectly captures that sense of dread and moral decay.

     (Warning – plot spoilers)

Frank Zito (a completely believable full on psycho performance by Joe Spinell) wanders the city and kills young women who he is aroused by, then scalping them and then taking his bloody souvenir home and attaching it to one of the many mannikins he has littering his apartment. It seems that he was abused as a child by his hooker mom and so he finds that beauty is punishable by death.

One couple is killed in their car when Frank jumps upon the hood of the vehicle and point- blank fires a double- barreled shotgun blast into the passenger (Tom Savini, who not only played the victim, but used his own sculpted head to blow apart. Savini also doubled for Frank and used an actual shotgun to blow up the sculpture, having the odd honor of shooting himself on camera! Since they did not have permits, Savini then tossed the gun into a waiting truck and was driven away in case of police investigating the reports of gunfire) before killing the young woman also in the vehicle.

Frank talks to his mannequins and sobs and wails when he sees the coverage of his latest murders upon his television. He is truly Norman Bates on speed in this film. Still, Spinell, while creepy and often veering dangerously close to overacting, never loses a sense of reality in his portrayal.)

Somehow, he meets a beautiful photographer, Anna (Caroline Munro), after she takes his photo. They oddly become friendly while Frank continues his killing spree, killing a nurse as well as one of Anna’s models, adding their scalps to his growing collection. Frank is starting to lose the small grip that he has on reality, for when he kills the mode, he first begins talking to her as his deceased mother.

 

Still, Anna goes out with Frank, stopping off at the graveyard where his mother was buried. Frank finally attacks Anna, but she bashes him with a shovel and escape. He tries to pursue her but suddenly imagines that his mother is rising from her grave. Terrified, he flees home. His apartment proves no safe sanctuary , however , as the mannequins come alive and throw him onto his bed, where they tear his head from his body!

The film has been a constant for collectors ever since VHS was the market staple.

This new BLU RAY is the must have version for collectors.

MEDIA VHS release

 

The movie is in its original aspect ratio of 1.85:1 with a magnificent 4k 1080p transfer. For a low budget film, the film has some superb cinematography, and this release does justice to its color photography. What is more amazing is when you realize the film was shot in 16mm and then blown up to 35mm. For decades, the original 16mm negatives were missing but now, they have been found. Prior prints were from a 35mm dupe, with all the inherit flaws that involves. The original camera negative used here seems less grainy (save for the usual grain of the format) and increases the sharpness of the images.

 

Comparing it to an old DVD release, the sharper clarity is so easy to see.

The original film was one of the first indies to use Dolby Stereo, but this release makes full use of the process. I heard no pops or hiss on the soundtrack, and the music, dialogue and sound effects are clear and make good use of the separate speakers on my system. I only listened to the 2.0 DTS-HD track, but you are offered the choice also of Dolby Digital 2.0 (which perhaps would reflect the original release sound) as well as 7.1 DTS-HD.

 

You can also experience the film in Dolby Digital 2.0 French, Italian, German, and Spanish audio, as well as Optional subtitles in English, French, German, Italian, Japanese, Portuguese,
Spanish, Dutch, Danish, Finnish, Korean, Swedish, Russian, Mandarin, Cantonese, and Thai (phew!).

There are six standard audio tracks on this Blu-ray release: English: DTS-HD Master Audio 2.0, English: DTS-HD Master Audio 7.1, French: Dolby Digital 2.0, Italian: Dolby Digital 2.0, German: Dolby Digital 2.0, and Spanish: Dolby Digital 2.0. Optional English SDH, French, German, Italian, Japanese, Portuguese, Spanish, Danish, Dutch, Finnish, Korean, Russian, Swedish, Mandarin (Simplified), Mandarin (Traditional), Cantonese, and Thai yellow subtitles are provided for the main feature.

That would be more than enough for most major studio releases, but BLUE UNDERGROUND has piled on the extras to truly make this a special collectible 3- Disc Edition.

 

On the first disc, along with the film, we get a running audio commentary with Lustig and Producer Andrew W. Garroni. This is a newly recorded commentary full of little insights as well as the how well the film holds up 38 years (!) later.

 

Also on the first disc is a second commentary track lifted from the previous 2007 DVD release from Blue Underground. On this track are Lustig, Tom Savini , film editor Lorenzo Marinelli and Joe Spinell’s assistant Luke Walter (Spinell sadly dying way too early in 1989 ,at age 52). There are a lot of fond memories and humor as well as technical details on the making of the film.

 

This first disc also has the original Theatrical trailer, as well as tv and radio spots. One wonders if trailers such as this which show such graphic violence could be shown nowadays https://www.youtube.com/watch?v=Ya7lVHk-qD8 .

Where else would you hear CALIGULA (Penthouse /1979) and MANIAC in the same sentence? https://www.youtube.com/watch?v=TCCsMzpBQqA

 

Disc Two
There are several more extras that fill this second disc. The first two are newly made especially for this release. The others are ported over from the MANIAC 30th Anniversary of 2010 or previous DVD releases.

OUTTAKES- rough footage and alternate takes give a glimpse of the behind the scenes making of MANIAC. The outtakes are not restored nor cleaned up and thus seem a bit more grainy but are a treat nonetheless.

 

RETURNING TO THE SCENE OF THE CRIME- on camera interview with William Lustig.
He talks about the making of the film with an obvious pride and enthusiasm.

ANNA & THE KILLER- Caroline Munro talks about her career and working on this flick as well as other films with Spinell .

THE DEATH DEALER- Tom Savini (who else?) Always fun to see and hear Tom talk about his magic.

 

DARK NOTES- Composer Jay Chattaway talks about this Jazz Musician came about getting his first film score and how he tried to get into the head of a psychopath to create his score.

MANIAC MEN -Michael Sembello and Dennis Matkosky discuss the song that the film inspired and later popularized in the Paramount film FLASHDANCE (1983).

THE JOE SPINNELL STORY- this is ,for me ,the highlight of the extras as this nearly an hour long documentary covers the actor’s life with personal memories , home movies and appearances on ‘The Joe Franklin Show”. Success seemed to have hurt Spinnell and been somewhat responsible for his early demise. (Copyright-2001).

 

 

MR ROBBIE: MANIAC 2 PROMO REEL– Buddy (COMBAT SHOCK, Troma ,1986) Giovinazzo had planned a warped sequel of sorts, with Spinell as a children’s show host with a disturbing secret. Imagine Spinell as Krusty The Clown and you can imagine how warped that it is. They never were able to raise the funds.

PUBLICITY – featurette. Interviews with the cast and crew.

MANIAC CONTROVERSY – Like SNUFF (Monarch,1975) before it, the filmmakers used the complaints and horrific reactions to the film to get the curious into the cinemas and see what all the fuss was about. Unlike SNUFF, they got a powerful that wasn’t just hype.

Third Disc- MANIAC original Motion Picture Soundtrack cd. This is a big bonus, as the soundtrack by itself sells for about $20 at least at horror conventions.

Bonus Booklet by Michael Gingold (Fangoria, Rue Morgue)- a short essay about the production .

The film is to this day very hard to watch for many, due to its gritty atmosphere which captures the sense of NYC at the time , as well as it’s still powerful effects .It also does have a strong sense of misogyny that is hard to ignore but it does also capture the mind set of the character. Joe Spinell’s daring performance both repels us while he fascinates us, lifting the feature above the other stalk and slash films of the era.

 

JUMP TO 2018 –

Before Alek Minassian killed 10 people, the majority of them women, by driving his van into pedestrians on a Toronto street Monday, he posted on Facebook praising mass murderer Elliot Rodger and called for an “Incel Rebellion,” an uprising of men who are angry women won’t have sex with them.

– https://www.usatoday.com/story/news/2018/04/26/incel-rebellion-alek-minassian-sexual-entitlement-mens-rights-elliot-rodger/550635002/

Perhaps MANIAC was predicting a movement, a hidden dark secret, that we back then could not even imagine??

RECOMMENDED for fans of 80’s horror, JOE SPINELL, CAROLINE MUNRO, TOM SAVINI, WILLIAM LUSTIG, stunning effects.

Kudos to BLUE UNDERGROUND for this super -deluxe must have 3-disc collector’s edition.

-Kevin G Shinnick

 

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